<H1>CMT Library Plugins</H1>

<P>The following plugins are provided in the CMT library:</P>

<TABLE BORDER=1>

<TR>
<TH>Plugin ID</TH>
<TH>Plugin Label</TH>
<TH>Description</TH>
</TR>

<TR>
<TD>1051</TD>
<TD>lpf</TD>
<TD>Low Pass Filter (One Pole).</TD>
</TR>

<TR>
<TD>1052</TD>
<TD>hpf</TD>
<TD>High Pass Filter (One Pole).</TD>
</TR>

<TR>
<TD>1053</TD>
<TD>delay_0.01s</TD>
<TD>Echo Delay Line. The delay time may be varied up to 0.01
seconds. No feedback is provided.</TD>
</TR>

<TR>
<TD>1054</TD>
<TD>delay_0.1s</TD>
<TD>Echo Delay Line. The delay time may be varied up to 0.1
seconds. No feedback is provided.</TD>
</TR>

<TR>
<TD>1055</TD>
<TD>delay_1s</TD>
<TD>Echo Delay Line. The delay time may be varied up to 1
second. No feedback is provided.</TD>
</TR>

<TR>
<TD>1056</TD>
<TD>delay_5s</TD>
<TD>Echo Delay Line. The delay time may be varied up to 5
seconds. No feedback is provided.</TD>
</TR>

<TR>
<TD>1057</TD>
<TD>delay_60s</TD>
<TD>Echo Delay Line. The delay time may be varied up to 60
seconds. No feedback is provided.</TD>
</TR>

<TR>
<TD>1058</TD>
<TD>fbdelay_0.01s</TD>
<TD>Feedback Delay Line. The delay time may be varied up to 0.01
seconds.</TD>
</TR>

<TR>
<TD>1059</TD>
<TD>fbdelay_0.1s</TD>
<TD>Feedback Delay Line. The delay time may be varied up to 0.1
seconds.</TD>
</TR>

<TR>
<TD>1060</TD>
<TD>fbdelay_1s</TD>
<TD>Feedback Delay Line. The delay time may be varied up to 1
second.</TD>
</TR>

<TR>
<TD>1061</TD>
<TD>fbdelay_5s</TD>
<TD>Feedback Delay Line. The delay time may be varied up to 5
seconds.</TD>
</TR>

<TR>
<TD>1062</TD>
<TD>fbdelay_60s</TD>
<TD>Feedback Delay Line. The delay time may be varied up to 60
seconds.</TD>
</TR>

<TR>
<TD>1063</TD>
<TD>sine_faaa</TD>
<TD>Sine Oscillator. Frequency input is audio, Amplitude input is
audio.</TD>
</TR>

<TR>
<TD>1064</TD>
<TD>sine_faac</TD>
<TD>Sine Oscillator. Frequency input is audio, Amplitude input is
control.</TD>
</TR>

<TR>
<TD>1065</TD>
<TD>sine_fcaa</TD>
<TD>Sine Oscillator. Frequency input is control, Amplitude input is
audio.</TD>
</TR>

<TR>
<TD>1066</TD>
<TD>sine_fcac</TD>
<TD>Sine Oscillator. Frequency input is control, Amplitude input is
control.</TD>
</TR>

<TR>
<TD>1067</TD>
<TD>amp_mono</TD>
<TD>Amplifier (Mono).</TD>
</TR>

<TR>
<TD>1068</TD>
<TD>amp_stereo</TD>
<TD>Amplifier (Stereo).</TD>
</TR>

<TR>
<TD>1069</TD>
<TD>noise_source_white</TD>
<TD>Noise Source (White).</TD>
</TR>

<TR>
<TD>1070</TD>
<TD>am</TD>
<TD>Amplitude Modulator.</TD>
</TR>

<TR>
<TD>1071</TD>
<TD>mixer</TD>
<TD>Mixer (Stereo to Mono).</TD>
</TR>

<TR>
<TD>1072</TD>
<TD>compress_peak</TD>
<TD>Simple Compressor (Peak Envelope Tracking).</TD>
</TR>

<TR>
<TD>1073</TD>
<TD>compress_rms</TD>
<TD>Simple Compressor (RMS Envelope Tracking).</TD>
</TR>

<TR>
<TD>1074</TD>
<TD>expand_peak</TD>
<TD>Simple Expander (Peak Envelope Tracking).</TD>
</TR>

<TR>
<TD>1075</TD>
<TD>expand_rms</TD>
<TD>Simple Expander (RMS Envelope Tracking).</TD>
</TR>

<TR>
<TD>1076</TD>
<TD>limit_peak</TD>
<TD>Simple Limiter (Peak Envelope Tracking).</TD>
</TR>

<TR>
<TD>1077</TD>
<TD>limit_rms</TD>
<TD>Simple Limiter (RMS Envelope Tracking).</TD>
</TR>

<TR>
<TD>1078</TD>
<TD>track_peak</TD>
<TD>Envelope Tracker (Peak).</TD>
</TR>

<TR>
<TD>1079</TD>
<TD>track_rms</TD>
<TD>Envelope Tracker (RMS).</TD>
</TR>

<TR>
<TD>1080</TD>
<TD>track_max_peak</TD>
<TD>Envelope Tracker (Maximum Peak).</TD>
</TR>

<TR>
<TD>1081</TD>
<TD>track_max_rms</TD>
<TD>Envelope Tracker (Maximum RMS).</TD>
</TR>

<TR>
<TD>1082</TD>
<TD>peak</TD>
<TD>Peak Monitor.</TD>
</TR>

<TR>
<TD>1083</TD>
<TD>null_ci</TD>
<TD>Null Plugin (Control Input).</TD>
</TR>

<TR>
<TD>1084</TD>
<TD>null_ai</TD>
<TD>Null Plugin (Audio Input).</TD>
</TR>

<TR>
<TD>1085</TD>
<TD>null_co</TD>
<TD>Null Plugin (Control Output).</TD>
</TR>

<TR>
<TD>1086</TD>
<TD>null_ao</TD>
<TD>Null Plugin (Audio Output).</TD>
</TR>

<TR>
<TD>1087</TD>
<TD>encode_bformat</TD>
<TD>B-Format Encoder. This plugin encodes ambisonic B-Format audio
using the inverse square law but no filtering, reverb or delay.</TD>
</TR>

<TR>
<TD>1088</TD>
<TD>encode_fmh</TD>
<TD>FMH-Format Encoder. This plugin encodes ambisonic FMH-Format audio
using the inverse square law but no filtering, reverb or delay.</TD>
</TR>

<TR>
<TD>1089</TD>
<TD>fmh2bf</TD>
<TD>FMH-Format to B-Format. This plugin simply discards the R, S, T, U
and V channels but is included for clarity.</TD>
</TR>

<TR>
<TD>1090</TD>
<TD>bf2stereo</TD>
<TD>B-Format to Stereo Ambisonic Decoder. This plugin only actually
uses its W and Y input signals and does not use UHJ.</TD>
</TR>

<TR>
<TD>1091</TD>
<TD>bf2quad</TD>
<TD>B-Format to Quad Ambisonic Decoder. This plugin only actually uses
its W, Y and Z input signals.</TD>
</TR>

<TR>
<TD>1092</TD>
<TD>bf2cube</TD>
<TD>B-Format to Cube Ambisonic Decoder.</TD>
</TR>

<TR>
<TD>1093</TD>
<TD>bf2oct</TD>
<TD>FMH-Format to Octagon Ambisonic Decoder. This plugin only actually
uses its W, X, Y, U and V inputs.</TD>
</TR>

<TR>
<TD>1094</TD>
<TD>bf_rotate_z</TD>
<TD>B-Format Rotation (Horizontal). This plugin rotates an B-Format
encoded soundfield around the Z-axis.</TD>
</TR>

<TR>
<TD>1095</TD>
<TD>fmh_rotate_z</TD>
<TD>FMH-Format Rotation (Horizontal). This plugin rotates an
FMH-Format encoded soundfield around the Z-axis.</TD>
</TR>

<TR>
<TD>1096</TD>
<TD>grain_scatter</TD>
<TD>Granular Scattering Processor. This plugin generates an output
audio stream by scattering short `grains' of sound from an input
stream. It is possible to control the length and envelope of these
grains, how far away from their source time grains may be scattered
and the density (grains/sec) of the texture produced.</TD>
</TR>

<TR>
<TD>1097</TD>
<TD>wsshape_sine</TD>
<TD>Wave Shaper (Sine-Based).</TD>
</TR>

<TR>
<TD>1098</TD>
<TD>identity_audio</TD>
<TD>Identity (Audio).</TD>
</TR>

<TR>
<TD>1099</TD>
<TD>identity_control</TD>
<TD>Identity (Control).</TD>
</TR>

<TR>
<TD>1123</TD>
<TD>freeverb3</TD>
<TD>Freeverb (Version 3). This reverb unit is a direct port of the
free public domain source code available from <A
HREF="http://www.dreampoint.co.uk">Jezar at Dreampoint</A>.</TD>
</TR>

<TR>
<TD>1221</TD>
<TD>analogue</TD>
<TD>Analogue Synthesizer Voice. Contains two audio oscillators, one LFO,
and three ADSRs. There are five waveforms available for the DCOs:
Sine, Triangle, Square, Sawtooth, and Fullwave rectified sine. The DCOs
may be frequency modulated and/or pulse width modulated by the LFO.</TD>
</TR>

<TR>
<TD>1222</TD>
<TD>organ</TD>
<TD>Organ Voice with Configurable Harmonics. The user may control the
loudness of the harmonics. There are three additional tones that may
be enabled and combined: brass, flute, and reed. Two ADSRs control
the envelope for the upper and lower harmonics.</TD>
</TR>

<TR>
<TD>1223</TD>
<TD>syndrum</TD>
<TD>Drum Synthesizer.</TD>
</TR>

<TR>
<TD>1224</TD>
<TD>vcf303</TD>
<TD>VCF 303. A TB-303 resonant filter clone.</TD>
</TR>

<TR>
<TD>1225</TD>
<TD>canyon_delay</TD>
<TD>Canyon Delay. A deep stereo crossdelay with built-in low pass
filters.</TD>
</TR>

<TR>
<TD>1226</TD>
<TD>phasemod</TD>
<TD>Phase Modulated Synthesizer Voice. Contains six audio oscillators, each
oscillator phase modulates the next. If a modulation coefficient is zero,
then the former oscillator's output is summed with the module's output.
DCO1's phase modulation parameter specifies an offset not a coefficient.
Example modulation parameters {1.0, 0.5, 0.0, 0.5, 0.2, 0.0} for all
six oscillators results in the output function: DCO2 (phase = DCO1 (phase =
1.0) * 0.5) + DCO5 (phase = DCO4 (phase = DCO3 (phase = 0.0) * 0.5) * 0.2) +
DCO6 (phase = 0.0). Each oscillator's output is bounded by -1.0 and 1.0,
or -360<SUP>o</SUP> and 360<SUP>o</SUP>.</TD>
</TR>

<TR>
<TD>1227</TD>
<TD>lofi</TD>
<TD>Lo Fi. Simulates old audio equipment. Adds distortion,
bandwidth limiting, compression, and crackling to audio.</TD>
</TR>

<TR>
<TD>1841</TD>
<TD>pink_interpolated_audio</TD>
<TD>Interpolated pink noise. Pink noise is a kind of random
one-dimensional fractal. This plugin approximates the effect of an
extreme low pass filter on a pink noise signal. It is useful as a
natural-sounding continuously varying control signal with long-term
trends as well as short-term variation. If you use it to control the
pitch of a sine wave it can sound a bit like wind blowing. Notice that
the average value tends to gradually drift over long periods of
time. This is in the nature of pink noise, and so can't be
helped.</TD>
</TR>

<TR>
<TD>1843</TD>
<TD>pink_sh</TD>
<TD>Sample and hold pink noise. Similar to pink, but with stepped
instead of interpolated output.</TD>
</TR>

<TR>
<TD>1844</TD>
<TD>pink_full_frequency</TD>
<TD>Pink noise simulation with a full frequency range. You can low
pass filter this to get a similar effect to the interpolated pink
noise generator.</TD>
</TR>

<TR>
<TD>1845</TD>
<TD>hard_gate</TD>
<TD>Hard noise gate. If the absolute value of the signal falls below
"threshold", it is set to zero. There is no antialiasing.</TD>
</TR>

<TR>
<TD>1846</TD>
<TD>disintegrator</TD>
<TD>Amplifies random half-cycles of it's input by multiplier. Set
multiplier to 0 and vary probability for a weird fade effect, or set
multiplier to -1 and probability to 0.5 to turn pitched sounds into
noise.</TD>
</TR>

<TR>
<TD>1848</TD>
<TD>sledgehammer</TD>
<TD>A Dynamic Sledgehammer, which you can use to bash your signals
into shape. It's basically a very simple and heavy compressor with a
sidechain. Try it with a pad sound as the carrier and a drum loop as
the modulator. Also, you can get some nice "Satan Maximiser"-style
distortion by not connecting the modulator (set it's influence to 0)
and putting the rate up to around 0.1.</TD>
</TR>

<TR>
<TD>1849</TD>
<TD>logistic</TD>
<TD>Logistic Map chaotic stepped control generator. The logistic map
is a classic example from chaos theory. It can be summarised by the
formula <pre>x := r*x*(1-x).</pre> With r<3, x just converges to a
constant value. With r just greater than 3 it oscillates with period
2. at about 3.45 the period doubles again to 4. These period doublings
occur at smaller and smaller increments of r, until at about 3.5699
there have been an infinite number and the signal never
repeates. Between this value and 4 the system exhibits chaotic
behaviour (although there are regions of periodicity). Papers are
still being published today on the subject of this system's
behaviour. This plugin iterates this map at a given frequency to
produce a stepped signal, which is scaled to lie in the range
(-1,1). When this signal is used as a frequency control it can
sometimes sound quite musical.</TD>
</TR>

</TABLE>

<P>"Ambisonics" is a registered trademark of Nimbus Communications
International.</P>
